• Journal of Elementary Mathematics Education in Korea
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• v.10 no.1
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• pp.67-87
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• 2006

This study is to recognize a problem in the practice of performance assessment in elementary school, and to find out some suggestive points for improvement of teaching·learning method in elementary mathematics through assessment by reducing time restriction according to assessment through the practice of self-assessment, peer-assessment and observation, and then by reflecting the results of assessment on teaching learning plan. For that, the questions of study set up are as follows ; 1. How should self-assessment and peer-assessment be applied to in elementary mathematics assessment? 2. How should the time for 'let's play an interesting game' be managed for assessment of elementary mathematics? 3. How should the results of assessment be reflected on the Process of teaching and learning of mathematics? To solve these problems, a researcher of this thesis performed self-assessment, peer-assessment on 40 students of second grade under her charge as a class teacher, and applied observation in the time management process for 'let's play an interesting game' for a semester. self-assessment was made by mathematics journal, self-assessment chart, peer-assessment was by the analysis of conversation record among students in the situations of assessment, and observation was by observation of activity when playing with the results data of play analyzed. the concrete methods of application as follows ; First, mathematics journal was applied $1{\sim}2$ times by each unit with reconstruction into the level of second grade on the basis of the preceding-study models. Second, peer-assessment was applied to the unit-assessment time and the play-activities time by the method of recording·analyzing the contents of conversation among students in the process of assessment. Third, mathematical attitude & dispositions of students making use of the self- assessment table were examined referring to the teaching learning plan. Fourth, the time management for 'let's play an interesting game' was made through the prior recognition of play method and the joyful play-activities by use of the play-plate. Assessment depended on analysis of play-activities results of students making use of an observation form. Fifth, the results of self-assessment, peer-assessment, and observation were analyzed, and then they were made use of as self-observation data, of teacher her/his self, or teaching·learning improvement data. Students' self-assessment datum (mathematics diary, self-assessment sheets, conversation contents in the process of assessment) and observation materials (check lists, Play-activity result materials, conversation contents in the process of play) obtained in the process of application was analyzed as follows ; 1. From the practice of self-assessment in form of mathematics journal, I could obtain not only datum showing how much students was understanding the learning aims by unit time and to any degree they reached but also information about their response to learning datum and favorable type of learning. 2. Assessment by self-assessment chart was useful in planning the mathematics teaching learning process because it helps ascertain mathematical attitude & dispositions of students. 3. Through the application of peer-assessment, students had the opportunity of communicating with other students looking back on his/her explaining process, and teachers could obtain basic materials for assessment of students. 4, In case of time management for 'let's play an interesting game', there was natural extension of play made through time-security by prior looking into the method of play-activity, and then, for a remained time, by making children play a new game. 5, I could easily record the activities of students by use of the observation. form, and make use of it as basic data for descriptive assessment. 6, Each kinds of data obtained from the results of assessment was helpful for securing self-observation materials in the process of teaching learning and for their betterment in mathematics subject. However, because they were in the second grade of elementary school and there was an individual difference, some students could not make use of mathematics diary or self-assessment form properly. In case of these students, assessment data would be obtained through interview or observation. And for effective operation of play, its purpose & method and matters that demand special attention when play-acting should be clearly guided. Also, when applying an effective play in addition to play activities in textbook, to lessons, interesting mathematics lessons could be guided.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.2
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• pp.1-12
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• 2015

This study explores urban gardening and garden culture in residential area as an everydayness that has been overlooked during the modern period urbanization and investigates the meaning and value of urban gardening from the perspective of urban formations and growth in spontaneous urban residential area, Haebangchon. The result identified that urban gardening as a meaning of contemporary culture is a new clue to improving the urban physical environment and changing the lives and community network of residents. Haebangchon is one of the few remaining spontaneous habitations in Seoul, and was created as a temporary unlicensed shantytown in 1940s. It became the representative habitation for common people in downtown Seoul through the revitalization of the 60s and the local reform through self-sustaining redevelopment projects during the 70s through the 90s. This area still contains the image of times during the 50s to the 60s, the 70s to the 80s and present, with the percentage of long-term stay residents high. Within this context, the site is divided into third quarters, and the research undertaken by observation and investigation to determine characteristics of urban gardening as an everydayness. It can be said that urban gardening and garden culture in Haebangchon is a unique location culture that has accumulated in the crevices of the physical condition and culture of life. These places are an expression of resident's desires that seeking out nature and gardening as revealed in densely-populated areas and the grounds of practical acting and participating in care and cultivation. It forms a unique, indigenous local landscape as an accumulation of everyday life of residents. Urban gardens in detached home has retained the original function of the dwelling and the garden, or 'madang', and takes on the characteristic of public space through the sharing of a public nature as well as semi-private spatial characteristic. Also, urban gardens including small kitchen garden and flowerpots that appear in the narrow streets provide pleasure as a part of nature that blossoms in narrow alley and functions as a public garden for exchanging with neighbors by sharing produce. This paper provides the concept of redefining the relationship between the private-public area that occurs between outside spaces that are cut off in a modern city.

• Journal of Chest Surgery
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• v.23 no.3
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• pp.452-464
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• 1990

It is well known that extracellular Calcium plays a very important role in several steps of smooth muscle excitability and contractility, and there have been many concerns about factors influencing the distribution of extracellular Ca++ and the Ca++ flux through the cell membrane of the smooth muscle. Based on the assumption that Mg++ may also play an important role in the excitation and contraction processes of the smooth muscle by taking part in affecting Ca++ distribution and flux, many researches are being performed about the exact role of Mg++, especially in the vascular smooth muscle. But yet the effect of Mg++ in the smooth muscle activity is not clarified, and moreover the mechanism of Mg++ action is almost completely unknown. Present study attempted to clarify the effect of Mg++ on the excitability and contractility in the multiunit and unitary smooth muscle, and the mechanism concerned in it. The preparations used were the guinea-pig aortic strip as the experimental material of the multiunit smooth muscle and the rat uterine strip as the one of the unitary smooth muscle. The tissues were isolated from the sacrificed animal and were prepared for recording the isometric contraction. The effects of Mg++ and Ca++ were examined on the electrically driven or spontaneous contraction of the preparations. And the effects of these ions were also studied on the K+ or norepinephrine contracture. All experiments were performed in tris-buffered Tyrode solution which was aerated with 100% 02 and kept at 35oC. The results obtained were as follows: 1] Mg++ suppressed the phasic contraction induced by electrical field stimulation dose-dependently in the guinea-pig aortic strip, while the high concentration of Ca++ never recovered the decreased tension. These phenomena were not changed by the a - or b - adrenergic blocker. 2]Mg++ played the suppressing effect on the low concentration [20 and 40 mM] of K+-contracture in the aortic muscle, but the effect was not shown in the case of 100mM K+-contracture. 3] Mg++ also suppressed the contracture induced by norepinephrine in the aortic preparation. And the effect of Mg++ was most prominent in the contracture by the lowest [10 mM] concentration of norepinephrine. 4] In both the spontaneous and electrically driven contractions of the uterine strip, Mg++ decreased the amplitude of peak tension, and by the high concentration of Ca++ the amplitude of tension was recovered unlike the aortic muscle. 5] The frequency of the uterine spontaneous contraction increased as the [Ca++] / [Mg++] ratio increased up to 2, but the frequency decreased above this level. 6] Mg++ decreased the tension of the low[20 and 40mM] K+-contracture in the uterine smooth muscle, but the effect did not appear in the 100mM K+-contracture. From the above results, the following conclusion could be made. 1] Mg++ seems to suppress the contractility directly by acting on the smooth muscle itself, besides through the indirect action on the nerve terminal, in both the aortic and uterine smooth muscles. 2] The fact that the depressant effect of Mg++ on the K+-contracture is in inverse proportion to an increase of K+ concentration appears resulted from the extent of the opening state of the Ca++ channel. 3] Mg++ may play a depressant role on both the potential dependent and the receptor-operated Ca++ channels. 4] The relationship between the actions of Mg++ and Ca++ seems to be competitive in uterine muscle and non-competitive in aortic strip.

• Korean Journal of Soil Science and Fertilizer
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• v.33 no.1
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• pp.52-60
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• 2000

This study was conducted to gain basic data for alleviation of gas emission and conservation of healthy soil environment by investigating an aspect of gas emission and microbial diversity due to the supplement of different fertilizers after application with a livestock manure compost in greenhouse soils. Green pepper was cultivated in clay loamy soil from April to August. Before planting, a livestock manure compost was applied with $741mg\;ha^{-1}$ on the basis of the phosphate content contained in compost. And then, deficient nitrogen for cropping was supplemented with either quick-acting fertilizer of urea or a controlled slow release fertilizer made from urea formaldehyde(U/F). $NH_3$ and R $NH_2$ gases emitted from soil showed a low concentration in the early stage but a maximum in 27 days after planting, then decreased rapidly and not detected after 33 days. Their average concentrations were 42% and 85% lower in the treatment of slow release fertilizer than that of urea fertilizer, respectively. $CO_2$ gas emitted under urea fertilization was ranged from 1,200 to $3,200mg{\ell}^{-1}$ and that in slow release fertilizer was $900{\sim}2,650mg\;{\ell}^{-1}$. The average concentration of urea treatment was $2,260mg{\ell}^{-1}$ and 30% higher than that of slow release fertilizer. The treatment of slow release fertilizer with the lapse of cropping time populated larger in numbers of bacteria, actinomycetes, nitrate bacteria and nitrate reduction bacteria, and ratios of bacteria and actinmycetes to fungi than that of urea fertilizer. But the number of fungi was higher in the treatment of urea fertilizer and denitrifying bacteria showed a similar trend in both treatments. The microbial diversity index, which calculated with numbers of 6 species of microorganisms, was decreased with increasing of growing stage in the range of 0.1 to 0.35 and that was higher in the tratment of slow release fertilizer than urea.

• Food Science and Preservation
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• v.17 no.5
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• pp.741-751
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• 2010

We evaluated the nutritional value of a Monascus pilosus mycelial ethanolic extract (MEM) and culture filtrate (CFM) by determining the contents of monacolin K and citrinin, and by measuring antioxidant and antimicrobial activities. The yields of freeze-dried MEM and CFM powder were 4.02% and 3.35% of wet weight, respectively. Pigment content ($OD_{500}$ value) of MEM (0.79) and CFM (0.63) were lower than those of commercial rice beni-koji ethanolic extracts (EERB) (0.87), but were in good agreement with the L*, a*, and b* values and the hue angles of the products. The total monacolin K content of MEM (24.91 mg%) was higher than those of CFM (1.27 mg%) and EERB (14.65 mg%). However, the active monacolin K content of EERB (5.48 mg%) was higher than those of MEM (3.35 mg%) and CFM (0.4 mg%). Citrinin was not detected in any sample. The total polyphenol content of MEM (4.68%, w/w) was similar to that of CFM (4.29%, w/w), thus 13.75.20.94% higher than that of EERB. The total flavonoid content of EERB was 6.8.7.0-fold higher than those of MEM (0.64%, w/w) and CFM (0.66%, w/w). The total antioxidant capacity of CFM (3.51%, w/w) was 1.62.2.08-fold higher than those of MEM (2.74%, w/w) and EERB (1.69%, w/w). The electron-donating capacities of 1% (w/v) solutions of CFM, MEM, BHT, and EERB were 86.20%, 77.25%, 77.25%, and 44.82%, respectively, and the corresponding reducing powers ($OD_{700}$ values) were 2.1, 2.4, 1.1, and 1.6, respectively. SOD(superoxide dismutase)-like activities were in the order MEM (39.85%) > BHT (37.68%) > EERB (26.70%) > CFM (21.5%). Although the TBARS (% value) of MEM was a little lower than that of BHT, it was higher than those of CFM and EERB. The antibacterial activities of CFM acting on Bacillus brevis and Escherichia coli were somewhat higher than those of MEM, whereas the activities of MEM on Bacillus subtilis, Listeria monocytogenes, Staphylococcus aureus, Staphylococcus epidermidis, and Salmonella enteritidis were higher than those of CFM. However, the antibacterial activities of MEM and CFM were less than those of EERB and BHT. In conclusion, although further studies are needed, we offer experimental evidence that the by-products of M. pilosus MEM and CFM contain significant antioxidant and antimicrobial activities that may be useful in the development of healthy foods.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.319-357
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• 2014

Formation of 'body schema' is the start for actor to create role and becomes the root and the foundation of existing as a role on the stage. For this, an actor needs to form 'scheme of role' with escaping from own 'body schema.' 'Schema of role' is formed by acquiring through synthesizing daily basic actions, namely, walking, standing, sitting, hand stretching, bending, and touching. The body schema, which was made with simple and usual actions, has fundamental significance in a sense of becoming the body in which the past traces in a role are habituated while energy as a role flows. As for the process of forming body schema, an actor first needs to obtain the visualized materials like photo, magazine, picture and image available for seeing a role specifically and clearly based on what analyzed a character. An actor needs to have three-dimensional image available for always recalling it in the head during acting. To do this, image data available for fundamentally capturing routine actions along with body structure are still more useful. Next, the body schema is formed by interaction with environment. Thus, there is a need of passing through the two-time process of forming body schema. Firstly, the body schema is made on routine actions in a role as physical condition of a role in actor's own everyday life. Secondly, the body schema is made on routine actions available for moving efficiently and economically in line with the environment of performance. A theatrical stage is the temporal space of rhythm and rule different from routine space. What forms body schema immediately in the second phase without body schema in the first phase ultimately becomes what exists as actor's own body, not the body of a role. The body schema, which was formed as the second process, is what truly has identity as a role in the ontological aspect, comes to experience the oppositional force in muscle, a qualitative change in energy, and emotional agitation in the physical aspect, and experiences perception, thinking, volition, and even consciousness with the entire body in the cognitive dimension. Thus, the formation of body schema can be known to be just a method of changing even spiritual and emotional layer. Body schema cannot be made if there is no process of embodiment and habit. Embodiment and habit are not simply the repeated, empty and mechanical action in the body. But, habit itself has very important meanings for forming body schema for role creating. First, habit allows the body itself to learn and understand a meaning. Second, habit relies upon environment, thereby allowing an actor of making the habituated body schema to recognize environment. Third, habit makes the mind. The habituated body schema is just the mind and the ego of a person who possesses the body schema. Fourth, habit comes to experience the expansion in energy and the expansion in existence. It may be experienced through interrelation among actor's body, tool, and environment. Fifth, habit makes identity of the body. Hence, this just becomes what secures identity of a role. These implications of habit are the formation of body schema, which is maintained with the body of being remembered firmly through being closely connected with the process of neural adaptation. Finally, it sought for possibility of practice as one method of forming body schema for role creating through Deleuze's '-becoming' theory. As 'actual animal-becoming' is real '-becoming' of forming structural transformation in the physical dimension, it meets with what the formation of body schema pursues actuality and reality. This was explained with a concept as saying of 'all '-becoming' molecular' by Deleuze/Guattari. 'Animal of having imitated animal's characteristic- becoming' is formed by which the body schema relies upon environment. In this way, relationship among the body, tool and environment has influence even upon a change in consciousness, thinking, and emotion, thereby being able to be useful for forming body schema in a sense of possibly experiencing ultimately expansion in role, namely, expansion in existence.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.5-47
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• 2013

Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.2
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• pp.425-433
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• 2019

In this study, a simple method of calculating the passive earth pressure coefficient, which is based on the limit equilibrium method, was proposed and the calculated earth pressure coefficients were compared with those of several researchers. The angle of the linear failure surface, which is combined with the logarithmic spiral arc, to the failure surfaces of the passive zone was derived and the whole passive thrust acting on the Rankine passive zone was considered in the proposed method instead of considering the horizontal component of passive thrust. The variations of the passive earth pressure coefficients of the proposed method showed the same tendency as that of the Coulomb's passive earth pressure coefficients with an inclined angle of backfill and internal friction angle. The magnitude of passive earth pressure coefficients of the proposed method were smaller than those of the Coulomb in almost all cases. A comparison of the passive earth pressure coefficients with the wall friction angle revealed the passive earth pressure coefficients of the proposed method to be smaller than those of the Coulomb and the differences between the two values increased with increasing internal friction angle and wall friction angle. A comparison of the passive earth pressure coefficients of the proposed method with those of the existing researchers for the considered internal friction angles of $25^{\circ}$, $30^{\circ}$, $35^{\circ}$, and $40^{\circ}$ and three wall friction angles revealed the maximum percentage differences for the Kerisel and Absi method, Soubra method, Lancellotta method, $Ant\tilde{a}o$ et al. method, Kame method, and Reddy et al. method to be 4.8%, 3.8%, 31.1%, 4.0%, 20.6%, and 12.8% respectively. The passive earth pressure coefficient and existing pressures were similar in all cases.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.189-228
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• 2014

The purpose of this research was to summarize Korea and China's researches on Noh and to examine main domain in this field, by investigating the academic books and articles published in two countries. In 1960s, since Nohgaku has been introduced to China, academic articles on Zeami's theories and aesthetics have emphasized on aesthetic characteristics of Chinese plays and Japanese Nohgaku through the similarities of oriental plays. The number of researches on Kabuki is almost twice as that of researches on Noh in China. While most researches on Kabuki were compared with the styles and music of Pecking Opera and the theatrical theories of liyu[李漁], those on Noh has been highlighted the comparative studies on $Y{\bar{o}}kyoku$[謠曲], Chinese Noh plays. The main difference among the researches on $Y{\bar{o}}kyoku$ in Korea and China was the material regarding characters of Noh. Because song yuanzaju[宋 元雜劇]and Nohgaku in Chinese-Japanese plays were the mature form of the classic plays and those were representative of traditional nation plays, this researches tried to ascertain the cultural origins of two countries regarding the aesthetic characteristics by referencing lyrical and narrative features[曲詞] of yuanzaju[元雜劇]and the classic waka of Nohgaku. While the comparative studies on Noh and song yuanzaju and kunqu[昆劇] in China were prevalent, national researches have emphasized on the inner world of the main character and dramaturgy through the verbal description of Noh. Especially, this research tried to investigate the inner world of the main character and the intention of the writers through the verbal description of Noh authorized in the history of the works. Also, the researches on Buddhism in the Middle Ages and religious background were examined significantly. In addition, the $Y{\bar{o}}kyoku$ has influenced on European modern playwrights and the comparative studies between the materials of $Y{\bar{o}}kyoku$ and Western modern plays were concerned. In Korea, the comparative studies on Noh between Korea abd Japan has been most focused on the origin theory of Noh. The fact that appearance theory of Noh had originated from Sangaku was common opinion among Korean, Chinese, and Japanese scholars. However, they are agree with the opinion that according to the formation of the different genres, Noh's mainstream was different among three countries despite of the same origin. Yuan drama and Noh play have the same origin, but different branch. In relation to the Noh's origin theory, there are literature comparative studies in religious background, the studies presumed the origin of instrumental music related to those in mask plays, and the comparative studies between Korean mask plays and $ky{\bar{o}}gen$ of Nohgaku. Kyogen is the Comedy inserted among the stories in Nohgaku performed in just one day. Therefore, $ky{\bar{o}}gen$ must be discussed separately from the relations of 'shite[任手]'s inner action veiled with masks. This research figured out that the lacking points of the two countries' researches were the acting methods of Noh. Academic articles written by foreign scholars studying Korean and Chinese theatres should be included when this issue will be dealt with. In Korea and China, translation studies and writings regarding Nohgaku have studied by those who are major in Japanese literature or oriental literature. This case is the same in Korea in that scholars whose speciality is not theatre, but Japanese literature has studied. Therefore, this present study can give a good grasp of whole tendency on Nohgaku's research in theatre fields.